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Renata Ingbrant

PhD in Slavic languages and literature and associate senior lecturer at the Department of Slavic Languages and Literatures, Stockholm University. Her research interests include feminist, gender and masculinity studies; contemporary Polish literature and women’s literature.

Articles by Renata Ingbrant

Now he has the possibility to prove his true political colours. A political survivor and strongman like Mr Djukanović, controlling power on all levels, need to be serious when continuing democratic reforms, otherwise he will be ever more accused of trying to build a (semi-) authoritarian platform like so many other Balkan leaders before him.

In the year 1872, Chief G’psgolox from the Kitlope Eagle clan of the Xenaaksiala/Haisla people (in Kitlope Valley, British Columbia, Canada) decided to have a totem pole carved and erected. In 1928 the pole was cut down on behalf of a Swedish consul to be shipped to Stockholm the following year.

It was very common to force people to work for the Congo Free State, and the point of building the railway was to make transportations easier and to get rid of the time-consuming caravans. It is probably one of these men, forced to work until he died, that Moberg collected the skull from. There is no explanation for why he collected skulls in the first place, but he studied medicine for his exam when returning to Sweden.

Like the lives of the saints, Brinton consciously crafted his own vita, iconography, and legend by inserting himself within the genealogy of his collection. From the portrait icon to the pious patron, the portraits of Christian Brinton tell us something of not only the actor, but also the narrative of Russian art that the collector constructed.

Just as the Soviets could trade “Rembrandts for tractors,” Aschberg could trade icons for social capital, while his donations also served the purpose of establishing links between himself in Paris and his business, cultural, and political contacts in Stockholm and ensuring the longevity of Swedish contacts with its great neighbor to the east, Russia.

It is here claimed that it is practically impossible to determine whether the collector and connoisseur in question (namely Igor Immanuilovich Grabar, 1879—1960) was, indeed, saving his objects from scattering and destruction — or contributing to their further enslavement by exploiting them in a capacity that was radically alien, if not inimical, to their nature.

The Basilys had both the means and opportunities to collect and exhibit Imperial elite art and books. In doing so, it is argued here that they wished to present an alternative narrative of Russia’s past to the Soviet political, economic, and modernist artistic program that they witnessed unfolding in Soviet Russia.

Lithuanian architecture of the past 25 years is a mirror of social decomposition is here argued. It is suggested that is should serve as a space for engagement with outcomes of this decomposition instead of glossing over it. Further that architecture and architects might contribute to the dissensus in all spheres of life existing today, or might cultivate fantasies about the social unity and spirituality of their art-craft.

Members of the Artists Colony were participants in the transformation processes, regardless of the functions they performed in such processes, the intensity of contacts with workers at the Gdańsk Shipyard, or the subject of their artistic works. Artists from the Colony identified the area of the former shipyard as a space of their own experience, memory, and history.

In the analysis of how self-organized groups work, act, and cooperate in young democracies like Albania, it is shown that different financial, human, technical, and political factors determine to what degree the self-organized groups are dependent on the political opportunity system in order to achieve their goals.